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A 


DONATELLO 


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THE  WORK  OF 


DONATELLO 


REPRODUCED  IN  277  ILLUSTRATIONS 


WITH  A BIOGRAPHICAL  INTRODUCTION 
ABRIDGED  FROM 

PAUL  SCHUBRING 


NEW  YORK 

BRENTANO’S 

MOM XX I 


Copyright,  IQI J,  by  Brentano* s 


Copyright  abandoned  August  30,  1921 
Printed  in  Wurttemberg 


DONATELLO 


HIS  LIFE  AND  WORK 

IT  is  only  during  the  last  half  century  that  Donatello,  as  an 
artist,  has  come  into  his  own.  The  celebration  of  the  five  hundredth 
anniversary  of  his  birthday  drew  special  attention  to  the  master  and 
his  work,  with  the  result  that  unknown  treasures  have  been  brought 
to  light  and  unexpected  beauties  revealed. 

The  Trocadero  Exhibition  in  Paris,  in  1878,  included  many 
examples  of  Donatello’s  fine  art.  William  Bode,  the  famous  art 
critic,  has,  since  that  time,  given  a particular  study  to  this  master, 
and  to  him  belongs  the  credit  of  being  the  first  among  the  newly 
arisen  investigators  of  Donatello  who  have  devoted  their  lives  to  a 
study  of  him.  To  Bode  and  to  the  writings  of  Schmarson,  Tschudi, 
Semper,  Muntz,  Fabriczy,  Cavalericci,  Voege  and  Pastor  is  due  the 
appreciation  in  which  Donatello  is  now  held — as  not  only  one  of  the 
many  artists  of  the  Renaissance,  but  as  one  of  the  plastic  masters  of 
all  times. 

Among  the  fourteenth-century  artists  of  Florence,  Donatello, 
without  doubt,  is  the  first.  If  Michelangelo  be  the  father  of  Barock, 
then  Donatello  is  its  grandfather.  Those  who  know  Donatello  know 
him  to  love  him,  and  in  this  love  they  also  realize  that  their  knowl- 
edge is  a privilege. 

To  understand  Donatello  we  must  know  Florence,  for  Florence 
is  the  genius  of  Donatello  embodied  in  stone.  He  is  the  personifi- 
cation of  the  Tuscan  life,  its  special  activity,  its  splendid  energy  and 
magnificent  strength.  There  is  nothing  in  Donatello  of  sentimen- 
tality— he  is  all  power  and  all  virility.  By  far  the  greater  portion 
of  his  work  belongs  to  the  art  of  the  street  and  the  art  of  the  Church. 
We  see  Donatello’s  masterful  spirit  everywhere  in  Florence — in 
its  high  halls,  its  spacious  squares,  its  stone  walls,  its  richly  decorated 
churches.  From  all  these  places  there  look  down  on  us  the  glowing 
eyes  of  the  passionate  faces  of  his  men.  These  creations  of  Dona- 

5 


tello’s  hands  step  beforq  us  in  all  fulness  of  strength  like  the  sons 
of  heroes  in  the  sunlight.  They  belong  to  a godly  and  conquering 
earthly  race,  and  their  strength  is  not  from  on  high,  but  is  the  ex- 
pression of  their  native  virtue.  Those  who  love  the  compelling 
power  of  the  will  and  the  strength  of  the  human  form  will  find  re- 
freshment and  delight  in  these  heroic  figures  of  Donatello  which  are 
to  be  met  on  all  sides  in  Florence. 

A peculiarity  in  Donatello’s  art  and  one  which,  perhaps,  may 
account  for  its  unpopularity  is  that  it  concerns  itself  altogether  with 
the  male  form.  Like  most  of  the  sculptors  of  the  Renaissance,  Dona- 
tello was  more  interested  in  men,  and  particularly  in  young  men. 
Their  ideal  of  beauty  was  the  naked  boy,  so  splendidly  realized 
later,  by  Michelangelo,  in  his  “ David.”  The  woman,  either  up- 
right or  sitting  or  lying  prone,  found  no  place  in  this  art.  It  would 
seem  as  if  her  existence  even  were  not  recognized.  When  Michel- 
angelo placed  two  recumbent  naked  women  on  the  tomb  he  exe- 
cuted for  the  Medicis  in  Florence,  the  work  caused  a sensation. 
Such  a treatment  had  never  before  been  given  by  any  sculptor  in 
marble.  Donatello’s  figures  are,  most  of  them,  standing  men,  and 
almost  all  of  them  are  clothed.  The  time  had  not  yet  come  when 
an  artist  could  play  with  the  body’s  skin  and  permit  it  to  express 
its  own  appealing  language.  It  was  not  until  Leonardo  sculptured 
that  this  was  done. 

These  preliminary  remarks  are  made  by  way  of  accounting  for 
the  fact  that  Donatello  has  remained  so  long  unappreciated  and  not 
understood.  Donatello’s  individuality  was  that  of  the  strong,  mas- 
terful man.  He  never  comes  to  us,  it  is  we  who  must  go  to  him.  And 
to  those  who  dare  this  adventure  he  will  give  bountifully  from  the 
rich  storehouse  of  his  treasures.  We  must  not  expect  from  Donatello 
that  shining  beauty  which  radiates  from  the  blocks  of  Michelangelo. 
Donatello’s  nature  was  of  quite  a different  kind.  His  energy  was  not 
directed  to  the  embodiment  of  beauty,  but  to  the  expression  of  char- 
acter, and  in  this  work  Donatello  has  no  superior. 

Donato  di  Niccolo  di  Betto  Bardi  was  born  in  Florence  in  1386. 
His  father  was  a wool-carder  and  a man  who  achieved  some  notoriety 
in  the  political  affairs  of  the  city.  He  had  been  exiled  from  Flor- 
ence because  of  the  Ciompi  riots  and  had  killed  a man  in  Pisa.  He 
must  have  been  of  a somewhat  lively  temper,  since  he  was  later  con- 
demned, for  other  reasons,  to  be  hanged.  He  did  not  suffer  the  pun- 
ishment, however,  since  the  Signoria  revoked  the  sentence  and  rein- 
stated Niccolo  di  Betto  Bardi  in  all  his  rights. 

6 


Born  of  such  a father,  and  in  such  a home,  Donatello  must  have 
experienced  some  exciting  times  in  his  youth.  He  was  never  sent 
to  a school,  but  was,  according  to  Vasari,  employed  as  one  of  his 
assistants  by  Ghiberti.  The  first  twenty-five  years  of  his  life  he 
worked  as  a stone  cutter  or  sculptor  either  for  Ghiberti  or  for  the 
Municipality  of  Florence  in  the  building  of  the  Duomo.  As  a young 
man  of  twenty  he  might  be  seen  any  day  hammering  and  chiselling 
at  the  beautiful  white  blocks  of  marble  that  were  brought  in  flats 
from  Carrara  to  the  city  on  the  Arno. 

Donatello’s  father  died  when  the  son  was  still  but  a young  man 
and,  like  Diirer,  later,  the  son  took  his  mother  to  live  with  him.  He 
cared  for  her  until  she  died  at  the  ripe  age  of  eighty-five.  This  may, 
perhaps,  be  the  reason  why  Donatello  never  married,  for  at  the  time 
of  his  mother’s  death  he  was  forty-five.  All  the  other  great  artists 
of  this  period — Alberti,  Leonardo,  Michelangelo,  Brunelleschi, 
Luca  della  Robbia — were  married. 

Donatello  was  enrolled  as  a master  sculptor  in  1406,  the  year 
in  which  he  received  his  first  commission  from  the  Operai  di  S. 
Maria  del  Fiore.  He  executed  for  them  for  the  gate  of  the  Man- 
dorla  two  small  statues  of  “ Prophets.”  It  is  not  known  who  was 
Donatello’s  teacher,  but  Vasari  and  Baldinucci  both  state  that 
Lorenzo  di  Bicci  taught  him  drawing.  More  probably,  however, 
his  master  was  Nanni  di  Banco.  So  far  as  we  know  Donatello  re- 
mained in  Florence,  living  with  his  mother  up  to  the  time  of  her 
death.  He  had,  during  those  years,  taken  two  trips,  one  to  Pisa 
and  the  other  to  Siena.  It  is  stated  that  he  was  then  in  partnership 
with  Michelozzo,  with  whom  he  executed  the  Tomb  of  John  XXIII 
in  the  Baptistry,  and  the  Tomb  of  Rinaldo  Brancacci  in  Naples. 
Most  of  his  work,  however,  was  for  the  city  of  Florence,  on  the 
Duomo  and  Or  S.  Michele.  Vasari  records  that  Cosimo  de’  Medici 
had  a great  love  for  the  genius  of  Donatello  and  gave  him  work  con- 
stantly. This  admiration  seems  to  have  been  mutual,  for  Vasari  says 
that  “ Donato  had  so  much  love  for  Cosimo,  that  at  each  least  sign 
he  devised  all  that  he  desired,  and  continually  obeyed  him.” 

In  1432,  Donatello,  accompanied  by  his  friend,  Brunelleschi, 
went  to  Rome.  Vasari  states  that  this  visit  had  reference  to  the  Tomb 
of  Pope  Martin  V for  the  Church  of  St.  John  Lateran.  It  is  more 
probable  that  he  left  Florence  because  of  the  banishment  of  his 
patron,  Cosimo  de’  Medici.  He  was  forty-six  when  he  came  to  Rome, 
ten  years  older  than  Goethe  when  he  visited  the  Eternal  City.  At 
that  time  Rome  had  not  yet  recovered  from  the  consequences  of  the 

7 


papal  flight  to  Avignon.  Its  palaces  were  in  ruins,  the  Lateran  was 
without  a tenant,  and  many  of  the  churches  were  quite  neglected. 
Donatello  busied  himself  digging  for  remains  of  antiquity.  He  was 
also  given  work  by  Pope  Eugenius  IV  on  the  decorations  for  the 
coronation  of  the  Emperor  Sigismondo,  and  he  executed  the  sepul- 
chral slab  of  Giovanni  Crivelli  in  the  Ara  Coeli  and  the  “ Tabernacle 
of  the  Sacrament  ” now  in  St.  Peter’s.  He  remained  in  Rome  for 
about  a year  and  then  returned  to  Florence.  Here  he  continued  to 
labor  on  various  commissions  for  ten  years.  The  Operai  of  Florence 
had  need  of  him.  He  occupied  himself  with  several  different  kinds 
of  work  at  the  same  time — the  reliefs  for  the  Duomo,  reliefs  for  the 
Prato  Pulpit  and  the  Cantoria,  bronze  doors  for  the  Sacristy,  a 
stained  glass  window  for  the  Cupola  of  the  Church  of  St.  Maria  del 
Fiore,  and  a commission  for  the  Cantoria  of  the  same  church. 

In  his  sixtieth  year  he  went  to  Padua  to  superintend  the  res- 
toration of  the  Church  of  St.  Antonio,  and  in  Padua  he  worked  for 
a full  ten  years.  The  work  he  did  there  is,  perhaps,  among  the  most 
important  of  his  achievements.  It  brought  him,  later,  the  com- 
mission for  the  equestrian  statue  of  Gattamelata,  the  first  bronze 
equestrian  statue  made  in  Italy  since  the  period  of  early  Roman 
days. 

Donatello’s  Paduan  labors  had  a great  influence  on  the  art  of 
Northern  Italy.  “ The  stimulus  which  Donatello  imparted,”  writes 
Kristeiler,  “ both  as  teacher  and  through  his  work,  to  the  develop- 
ment of  the  art  of  Northern  Italy,  was  absolutely  epoch  making.” 

Donatello  returned  to  Florence  in  his  seventieth  year,  taking 
up  fresh  work  given  him  with  the  fire  of  youthful  ardor.  During 
the  last  years  of  his  life  he  became  lame  and  was  confined  to  bed. 
He  died  on  the  13th  of  December,  1466,  two  years  after  the 
death  of  his  patron,  Cosimo  de’  Medici.  In  the  crypt  of  the  Church 
of  St.  Lorenzo,  the  church  for  which  he  had  done  so  much,  a coffin 
was  placed  to  his  memory  near  to  that  of  Cosimo’s. 

In  addition  to  his  work  in  Pisa,  Siena,  Rome  and  Padua,  Dona- 
tello worked  for  Mantua,  Verona,  Ferrara,  and  Naples;  but  not 
all  of  these  works  have  been  identified.  It  was  to  Florence,  and  Flor- 
ence chiefly,  that  he  devoted  his  genius  with  unbounded  enthusiasm. 
Florence,  at  that  time,  had  become  the  centre  of  Italian  life.  The 
Duomo  which  raised  itself  gently  and  beautifully  to  the  sky  was  the 
shrine  of  all  patriots,  and  only  in  its  shadow  did  Donatello  feel  him- 
self completely  happy.  “ Away  from  the  Duomo,”  says  the  Floren- 
tine proverb,  “ is  misery.”  In  addition  to  the  city  fathers  and  Cosimo 


de’  Medici,  the  Martelli,  the  Pazzi  and  the  Orlandini  loaded  him 
with  orders  in  eager  desire  for  his  work.  His  help  was  sought  by  the 
heads  of  various  churches  in  the  neighborhood.  For  the  Duomo 
Donatello  labored  for  forty  years,  and  for  St.  Lorenzo,  the  Church 
of  the  Medicis,  he  was  given  an  absolutely  free  hand. 

The  earliest  work  of  Donatello  of  which  we  have  knowledge 
dates  back  to  his  twentieth  year,  the  date  of  the  completion  of  his 
apprenticeship.  He  could  not  have  been  one  of  the  competitors 
for  the  bronze  doors  of  St.  Giovanni,  in  1401,  for  he  was  then  but 
a boy  of  fifteen,  although,  as  has  been  said,  Vasari  states  that  he 
learned  the  art  of  casting  in  bronze  from  Ghiberti.  Nanni  di  Banco 
was  more  probably  his  master,  since  the  north  door  of  the  Duomo 
which  Di  Banco  completed,  namely,  the  Porta  della  Mandorla,  con- 
tains two  small  “ Prophets,”  done  in  1405,  which  are  definitely  ac- 
cepted now  as  the  first  work  of  Donatello.  The  left  figure,  with  its 
flowing  mantle  and  uncertain  hands,  is  quite  Gothic.  The  model 
for  these  “ Prophets  ” was,  evidently,  the  same  as  that  for  the  marble 
“ David  ” of  the  Bargello,  which  charms  by  its  beautiful  dark  yellow 
patina,  due  to  the  fact  that  the  marble,  before  it  was  polished,  was 
coated  with  wax  in  order  to  do  away  with  the  chalky  whiteness  of 
the  stone.  This  figure,  originally  intended  for  the  Duomo,  was 
placed  in  the  Council  Chamber. 

Following  the  “David”  came  Donatello’s  first  seated  figure, 
larger  than  life  size,  that  of  John  the  Evangelist,  which  was  intended 
as  a companion  statue  to  three  other  Evangelists  which  were  to  be 
placed  over  the  principal  doorway  of  the  Duomo.  These  four 
gigantic  figures  were  lost  in  the  dark  aisles  of  the  Duomo.  In 
Donatello’s  day  they  were  placed  in  the  Tabernacle.  The  “ Evan- 
gelist ” is  the  first  expression  of  Donatello’s  energy  in  realizing  the 
male  form.  It  is  the  father  of  Michelangelo’s  “ Moses.”  Miss 
Maud  Crutwell,  in  her  excellent  monograph  on  Donatello,  writes  of 
this  “ Evangelist  ” as  being  one  of  the  grandest  and  most  monu- 
mental of  Donatello’s  work.  “ It  has  been  justly  likened,”  she  says, 
“ to  a statue  of  Jupiter  Tonans  for  its  menacing,  yet  serenely  majestic, 
pose  and  expression.” 

In  1 41 1 Donatello  received  commissions  for  other  niche  figures. 
The  municipality  of  Florence  desired  to  decorate  their  City  Hall, 
the  Or  S.  Michele,  with  the  thirteen  apostles  of  their  Guild.  The 
Or  S.  Michele,  which  originally  was  the  corn  market  of  Florence* 
became,  after  it  was  rebuilt  in  1337,  the  Church  of  the  merchants  of 
the  city.  All  the  Guilds  of  Florence  contributed  to  its  reconstruction, 

9 


and  to  each  Guild  was  given  its  Tabernacle  on  which  it  was  to 
expend  its  money.  The  work  was  long  delayed,  but  on  a threat 
from  the  Signoria,  that  if  the  work  were  not  proceeded  with  the 
Guild  would  lose  its  Tabernacle,  the  Guilds  quickly  gave  their  com- 
missions to  the  various  artists  of  the  day.  Donatello  was  one  of 
those  chosen  and  Nanni  di  Banco  was  another.  Di  Banco’s  statue 
was  erected  in  1408.  It  was  a St.  Peter  and  was  made  for  the  Guild 
of  Butchers,  whose  patron  saint  St.  Peter  was.  Vasari  states  that 
this  St.  Peter  was  by  Donatello,  but  modern  critics  give  Di  Banco 
the  credit  for  its  execution.  Perhaps  Donatello  received  an  unfin- 
ished block  to  complete  as  did,  later,  Michelangelo,  his  “ David.” 
But  there  is  no  room  for  speculation  about  the  St.  Mark.  That  is 
unquestionably  the  handiwork  of  Donatello.  It  was  given  him  to  do 
by  the  Guild  of  Flax-weavers.  No  one  but  Donatello  could  have 
chiseled  it.  The  figure  is  a remarkably  striking  one,  and  looks  out 
on  the  world  as  if  disturbed  in  the  reading  of  a book.  The  head  is 
like  that  of  Poseidon,  from  the  beard  of  which  flow  two  Delphic 
figures.  When  it  is  remembered  that  Donatello  was  only  twenty 
when  he  executed  it,  it  becomes  a matter  for  astonishing  wonder. 

In  1416  the  Guild  of  the  Armorers  commissioned  Donatello 
for  their  statue.  He  gave  them  the  St.  George,  a figure  the  very 
opposite  to  that  of  the  St.  Mark.  What  Vasari  says  of  it  is  faithfully 
true:  “ For  the  Arte  de  Corazzai  he  made  a figure  of  St.  George 
in  armor,  most  life-like,  in  whose  head  is  seen  the  beauty  of  youth, 
of  courage  and  knightly  valor,  a vivacity  terrible  and  audacious, 
and  a marvellous  gesture  as  though  the  spirit  stirred  within  the 
stone.”  It  is  a commandingly  proud  figure  and  proves  that  the 
Italian  rarely  speaks  ambiguously  in  what  he  has  to  say  in  art. 

In  the  meantime  Donatello  was  busy  on  work  for  the  Duomo. 
The  Campanile  of  Giotto  still  showed  empty  niches  on  its  first  story, 
and  Donatello  was  ordered  to  fill  these  with  figures  as  well  as  to 
replace  the  existing  old  Gothic  ones.  What  a joy  it  must  have  been 
to  Donatello  to  work  on  this  most  beautiful  of  Italian  towers!  The 
Gothic  statues  on  the  north  and  south  sides  were  allowed  to  remain, 
but  nine  figures  were  ordered  for  the  east  and  west  fronts.  These 
Donatello  worked  at  separately  and  with  the  help  of  Rosso  and 
Ciuffagni.  On  the  west  side  are  the  Job,  Jeremiah,  and  the  Baptist 
by  Donatello  and  the  Obadiah  by  Rosso.  On  the  east  are  the  Abra- 
ham, Habakkuk,  Joshua  and  Moses,  on  which  Rosso  also  worked. 
The  work  was  begun  in  1412,  with  the  Joshua,  and  completed  in 
1426,  with  the  Jeremiah. 


10 


The  so-called  “ Baptist”  (1416),  the  first  statue  on  the  left  of 
the  west  front,  arouses  doubt  as  to  its  name.  A baptist  should  be 
clothed  in  an  animal’s  pelt  and  bear  a staff  with  a cross.  All  Dona- 
tello’s Baptists,  and  he  executed  many,  are  represented  with  insignia 
that  have  relation  to  their  actual  life.  These  are  wanting  in  this 
particular  figure.  Perhaps,  it  should  be  more  properly  considered 
as  one  of  the  younger  prophets,  probably  Jonas.  The  “Joshua” 
shows  few  marks  of  Donatello’s  hand;  it  reminds  one  rather  of 
Ciuffagni.  The  “ Habakkuk  ” is  a distinct  advance  on  the  “ Jonas.” 
The  “ Abraham  ” is  quite  a distinguished  piece,  the  only  group  in 
the  row,  and  the  only  heroic  figure.  Abraham  is  represented  as 
standing  on  the  top  of  a hill,  in  a high  wind,  about  to  sacrifice  his 
son  Isaac.  This  subject  had  been  a very  popular  one  ever  since  the 
competition,  in  1401,  for  the  Baptistry  Choir.  At  that  time  six 
masters  had  attempted  it.  Among  these  were  Brunelleschi,  Ghi- 
berti and  Quercia.  They  had  all  treated  the  subject  in  relief.  When, 
twenty  years  later,  Donatello  put  his  hand  to  the  same  subject  he 
produced  a group — the  first  group  from  his  chisel.  There  is  a sar- 
cophagus in  the  Lateran  which  shows  a similar  treatment,  and  it 
may  be  that  Donatello  took  this  as  his  model,  or  bore  it  in  mind.  The 
Isaac  in  this  group  is  the  first  child  figure  by  Donatello  of  which  we 
know.  The  head  of  Abraham  bears  a strong  likeness  to  that  of  the 
St.  Mark. 

The  wooden  “ Crucifix”  in  the  Church  of  St.  Croce  has  been 
placed  by  Vasari  among  the  early  works  of  Donatello,  but  it  belongs 
to  the  end  of  the  second  decade  of  the  century.  It  has  been  made 
well  known  by  Vasari’s  anecdote.  The  story  as  told  by  Vasari  is 
worth  repeating.  “ For  the  Church  of  St.  Croce,  Donatello  carved 
with  extraordinary  care  a Crucifix  of  wood,  which,  when  he  had 
finished,  thinking  to  have  executed  a very  rare  work,  he  showed  to 
his  great  friend,  Filippo  di  Brunellesco,  to  have  his  opinion.  Fi- 
lippo, who  from  Donato’s  words  expected  a much  better  work,  smiled 
somewhat  when  he  saw  it,  which  Donato  seeing,  he  begged  him  by 
the  friendship  that  was  between  them  to  tell  him  his  opinion  ; where- 
fore Filippo,  who  was  most  generous  of  heart,  replied  that  to  him 
it  seemed  that  he  had  put  a peasant  on  the  Cross,  and  not  such  a 
body  as  was  that  of  Jesus  Christ,  who  was  most  delicate,  and  in 
every  part  the  most  perfect  man  that  had  ever  been  born.  Donato 
hearing  this  censure,  when  he  had  hoped  for  praise,  replied:  ‘If 
it  were  as  easy  to  do  as  to  judge,  my  Christ  would  appear  to  thee 
Christ  and  not  a peasant;  therefore  take  wood  and  try  to  carve  one 


also.’  Filippo  without  more  words  returned  to  his  house,  where, 
unknown  to  all,  he  set  to  work  to  carve  a Crucifix,  and  striving  to 
excel  Donato,  so  as  not  to  be  condemned  by  his  own  judgment,  he 
brought  it  after  many  months  to  the  highest  perfection.  And  when 
it  was  finished  he  invited  Donato  one  morning  to  dine  with  him, 
and  Donato  accepted  the  invitation;  and  thus,  proceeding  together 
to  his  house,  when  they  had  reached  the  Mercato  Vecchio,  Filippo 
bought  some  things  and  gave  them  to  Donato,  saying:  ‘ Proceed  with 
these  things  to  the  house  and  await  me  there,  and  I will  follow  im- 
mediately.’ Donato  then,  when  he  had  entered  the  house,  saw  the 
Crucifix  of  Filippo  in  a good  light,  and  pausing  to  consider  it,  he 
found  it  so  perfect  that,  overcome  and  completely  stupefied,  as  one 
beside  himself,  he  opened  his  hands  which  held  his  apron,  so  that 
the  eggs  and  cheese  and  all  the  other  things  fell  to  the  ground  and 
were  broken.  But  he  did  not  cease,  however,  to  marvel  and  to  stand 
as  one  out  of  his  senses  till  Filippo,  arriving,  said  laughingly,  ‘ What 
is  thy  intention,  Donato?  How  shall  we  dine  now  thou  hast  spilt 
everything?  ’ ‘ For  my  part,’  replied  Donato,  ‘ I have  had  my  por- 

tion for  this  morning;  if  thou  wishest  thine,  pick  it  up.  But  enough! 
To  thee  it  is  given  to  carve  Christs,  and  to  me  peasants  only.’  ” 

And  yet  Donatello  did  himself  a great  injustice.  The  two 
friends  were  poles  apart  in  genius  and  temperament.  The  Crucifix 
of  Brunelleschi  may  have  appealed  to  his  patrons;  but  the  Crucifix 
of  Donatello  remains  the  sympathetic  appeal  to  the  worshippers 
who  came  to  pray  in  the  Church  of  St.  Croce.  Donatello  spoke  not 
to  the  rich,  but  to  the  common  people,  the  people  from  whom  he 
had  himself  sprung,  and  his  language  went  direct  to  the  heart. 

In  1418  the  Guelph  Party  commissioned  its  Tabernacle  and 
statue  for  Or  S.  Michele,  and  to  Donatello  was  given  the  order  for 
the  Party’s  patron  saint,  St.  Louis,  to  be  done  in  bronze.  It  was 
to  be  placed  in  a high  niche  in  the  centre  over  the  front  of  the  build- 
ing. The  St.  Louis  he  finished  is,  perhaps,  the  least  impressive  of 
Donatello’s  works.  Unfortunately,  it  was  placed  too  high  to  be  seen 
to  advantage.  Moreover,  Donatello’s  casting  in  bronze  does  not 
compare  well  with  the  work  of  the  Sienese  or  Venetian  casters.  He 
had  not  understood  that  bronze  demands  compression.  Later,  the 
St.  Louis  was  removed  and  Verrocchio’s  famous  “ Christ  and 
Thomas  ” was  erected  in  its  stead. 

In  1419  Pope  John  XXIII  died  in  Florence.  Baldassare  Cossa 
had  been  deposed  by  the  Council  of  Constance  for  his  licentious  life, 
and  imprisoned.  He  was  liberated  some  years  later  on  his  submis- 


1 2 


sion  to  Pope  Martin  V,  who  created  him  Cardinal-Bishop  of  Tuscu- 
lum,  and  found  an  asylum  with  the  Medicis,  who  kept  him  until  his 
death.  Cosimo  de’  Medici,  after  much  wrangling  with  the  authori- 
ties, caused  a tomb  to  be  built  over  his  grave  in  the  much  revered 
Church  of  the  Baptistry.  Donatello  was  given  the  commission  for 
the  tomb’s  Chapel,  and  he  worked  on  it  in  conjunction  with  Mi- 
chelozzo. Donatello,  in  his  design,  followed  tradition.  Two  pillars 
support  the  flying  architraves  above  each  of  the  interior  walls,  and 
between  two  of  these  pillars  the  sepulchre  is  placed,  fixing  the  sar- 
cophagus high  enough,  on  brackets,  in  order  not  to  choke  the  ground 
space.  Above  the  sarcophagus  and  placed  directly  on  it,  but  car- 
ried on  a stretcher  by  two  lions,  is  the  figure  of  the  dead  Pope. 
Donatello  made  an  innovation  by  casting  this  figure  in  bronze,  and 
he  clothed  it,  not  in  the  papal  vestments,  but  in  those  of  the  bishop. 
The  sepulchre  was  not  completed  until  1428  or  1429. 

In  the  meantime  Donatello  had  received  his  first  commis- 
sion from  outside  Florence.  The  people  of  Siena  had,  in  1417,  or- 
dered two  bronze  reliefs  for  the  baptismal  font  of  their  Baptistry 
from  Ghiberti;  they  now  approached  Donatello  with  the  request 
for  a relief  in  keeping  with  Ghiberti’s  design  to  be  executed  in 
bronze.  Siena’s  great  architect,  Jacopo  della  Quercia,  had  been 
called  to  Bologna,  and  the  Sienese  delayed  not  a moment  in  obtain- 
ing the  service  of  Donatello. 

Donatello  must  have  undertaken  the  work  with  unusual  zest, 
since  it  set  him  a fresh  problem.  Up  to  this  date,  the  only  relief  he 
had  done  was  the  stone  pedestal  for  the  St.  George;  now  he  was  to 
attempt  one  in  bronze.  The  subject  demanded  was  the  Dance  of 
Salome  with  the  head  of  John  the  Baptist.  The  model  for  this  sub- 
ject every  Florentine  could  see  for  himself  in  the  famous  fresco 
by  Giotto  in  Santa  Croce.  But  the  fresco  pictured  in  several  scenes 
what  Donatello  was  compelled  to  include  in  the  four  sides  of  one 
relief.  How  he  accomplished  his  task  may  be  seen  on  plates  28, 
29,  and  30,  of  this  volume,  in  which  are  reproduced  the  four  Putti 
and  the  two  statuettes  of  Hope  and  Faith,  which  were  also  a part 
of  the  commission. 

To  the  twenties  of  the  century  also  belongs  the  first  of  Dona- 
tello’s Madonnas.  Up  to  now  these  home  altarpieces  had  been  exe- 
cuted in  paint  on  canvas  or  wood,  and  they  always  were  made  to 
represent  the  motherly  joy  and  the  motherly  sorrow  of  the  Virgin. 
In  Donatello’s  Madonnas,  however,  the  note  is  heroic,  and  impres- 
sive of  strength.  His  Virgin  is  not  a housewife;  she  is  made  a means 

1 3 


for  the  expression  of  beauty  and  fate.  Berlin  is  fortunate  in  pos- 
sessing the  masterpiece  of  these  early  Madonnas,  the  Madonna  di 
Casa  Puzzi,  a beautiful  execution  in  sharp  profile.  The  many  repro- 
ductions made  of  this  Madonna  testify  to  the  endearment  in  which 
this  relief  must  have  been  held. 

On  one  occasion  Donatello  grouped  a Madonna  with  angels 
and  saints,  reminiscent  of  Masaccio’s  altarpiece.  Of  this  two  ovals 
in  stucco  exist,  one  in  London  and  the  other  in  Dr.  Neisbach’s  house 
in  Berlin. 

Another  work  which  properly  belongs  to  the  period  prior  to 
Donatello’s  journey  to  Rome  is  the  bronze  “ David,”  a figure  for  a 
fountain,  which  now  stands  in  the  Bargello,  but  which  once  crowned 
a fountain  in  the  Medici  palace.  This  is  the  first  bronze  fountain 
of  the  Renaissance. 

About  1436  Donatello’s  mother  died  in  her  eighty-fifth  year. 
Her  son  had  faithfully  tended  her  and  seldom  left  her  alone.  Her 
death,  therefore,  set  him  free,  and,  in  the  company  of  his  friend, 
Brunelleschi,  he  went  to  Rome.  What  impelled  him  to  undertake 
this  journey  is  not  known.  It  may  be  that  he  had  hopes  of  a com- 
mission for  the  sepulchre  of  Pope  Martin  V,  who  had  just  died. 
But  his  hopes  in  this  direction  were  not  realized.  The  new  Pope, 
Eugenius  IV,  was  a Venetian  who  maintained  his  position  with 
difficulty  against  the  Colonna,  the  family  of  the  dead  Pope.  Mat- 
ters came  to  a crisis,  in  1434,  in  a revolution,  and  Eugenius  was 
compelled  to  fly  to  Florence,  where  he  lived  in  the  Monastery  of 
St.  Maria  Novella.  It  was  only  until  nine  years  had  passed  that 
he  was  able  safely  to  return  to  Rome.  Donatello  remained  in  Rome 
between  August,  1432,  and  May,  1433.  Foreign  artists  were  not 
persona;  grata  to  the  Romans,  and  were  often  roughly  handled. 
Masaccio  disappeared  in  a Roman  street;  the  death  of  Gentile  de 
Fabriano,  while  at  work  on  the  Lateran  frescoes,  had  not  been 
cleared  up ; and  the  son  of  Signorelli  had  been  cruelly  beaten.  This 
will  give  some  idea  of  how  the  Romans  dealt  with  Etruscan  visitors 
from  Florence.  Michelangelo  wrote  of  the  “ molte  belle  cose,” 
and  in  1432  things  were  even  worse.  We  find  Donatello  at  work, 
during  this  visit,  on  the  Lateran,  when  he  completed  the  monumental 
slab  of  Pope  Martin  V,  which  had  been  cast  by  Simone  Ghini. 
More  likely  Donatello  modeled  it,  since  we  know  of  Simone  Ghini 
later  as  only  an  assistant  to  Filarete  when  that  artist  was  working 
on  the  bronze  doors  of  St.  Peter’s.  A second  piece  by  Donatello  is 
found  in  the  Vatican.  It  is  the  Tabernacle  for  the  Consecrated 

H 


Host,  mentioned  by  Vasari  and  ordered  for  one  of  the  Chapels  in  the 
old  Church  of  St.  Peter.  The  Tabernacle  to-day  houses  a painting 
of  the  Madonna. 

In  the  summer  of  1437  Donatello  was  again  in  Florence.  He 
now  undertook  three  important  commissions — a pulpit  for  the 
Duomo;  a Tabernacle  with  an  Annunciation,  for  the  Cavalcanti,  in 
St.  Croce;  and  an  open-air  pulpit  for  the  Duomo  in  the  Prato.  The 
beautiful  stone  Tabernacle  for  S.  Croce  was  long  thought  to  be  one 
of  Donatello’s  early  works;  but  the  character  of  the  architecture  and 
the  unusual  execution  of  the  figures  point  to  a later  date.  It  is  the 
beginning  of  Donatello’s  exaggeration  of  speech  in  the  language  of 
sculpture.  In  the  meantime  the  authorities  of  the  Duomo  had  se- 
cured the  services  of  Florence’s  masters  in  art  for  their  purposes. 
The  building  of  the  cupola  had  proceeded  so  far  that  it  was  possible 
to  lay  out  the  scheme  for  the  interior  monuments.  The  most  impor- 
tant of  these  was  the  high  altar  with  its  sepulchre  to  contain  the 
bones  of  St.  Zenobius.  Ghiberti  had  placed  it  in  position  in  1432, 
and  now  choirs  were  demanded  over  the  two  doors  of  the  Sac- 
risty. As  then  planned  the  cupola  was  to  be  inlaid  in  gold  mosaic. 
Directly  inside  it  two  white  marble  pulpits  were  to  protrude,  beneath 
which  the  two  dark  bronze  doors  of  the  Sacristy  came  to  rest.  The 
so-called  New  Sacristy  choir  was  given  to  Luca  della  Robbia  in 
1431,  and  finished  by  him  in  1438.  Donatello  was  commissioned  to 
execute  the  Old  Sacristy  choir  in  1433  and  it  was  completed  by  him 
in  1439.  Unfortunately,  little  remains  to-day  of  these  original  works. 
Both  Cantoria  were  practically  destroyed  for  the  purpose  of  accom- 
modating an  orchestra  at  the  time  of  the  celebration  of  the  mar- 
riage, in  1688,  of  Ferdinando  de  Medici,  with  the  Princess  Violante 
of  Bavaria. 

The  exterior  pulpit,  however,  of  the  Prato  was  governed  by 
quite  other  conditions.  The  church  possessed,  as  its  most  valuable 
relic,  the  Girdle  of  the  Virgin  Mary,  which,  so  tradition  ran,  she 
had  given  to  Thomas  as  a reward  for  his  repentance.  The  relic 
had  come,  in  a roundabout  way,  into  the  possession  of  one  of  the 
burghers  of  the  Prato,  who  had  to  fight  nightly  with  the  devil  to 
retain  it.  On  the  death  of  this  burgher  he  left  the  precious  treasure 
to  the  cathedral,  and  since  that  time  it  had  become  the  custom  to 
exhibit  the  Girdle  to  the  people  on  the  23th  of  March  of  each  year. 
As  Aachen  had  its  Bridge  of  Relics,  so,  likewise,  the  people  of  the 
Prato  desired  to  have  a small  Loggia  as  an  exhibition  place  for  its 
relic.  The  spot  selected  for  this  purpose  was  the  Square  in  which 

U 


stood  the  Duomo,  where  it  could  best  be  viewed.  The  Bishop  ap- 
peared from  the  right  through  a small  door,  stepped  slowly  across 
the  pulpit,  displayed  the  Girdle,  and  then  disappeared  through  an- 
other door  on  the  left,  the  kneeling  multitude  the  while  bowing  in 
silent  reverence,  and  not  daring  to  raise  their  eyes  to  the  sacred 
object. 

Donatello  built  his  pulpit  in  a corner  of  the  Duomo,  cutting 
through  a thick  pillar  which  supported  a low  heavy  roof.  In  its 
seven  panels  he  sculptured  thirty-five  boys  dancing  in  honor  of 
this  festival  of  Spring.  The  bronze  capital  of  the  pilaster  is,  per- 
haps, the  most  Roman  in  style  of  anything  Donatello  has  done. 

To  the  period  of  ten  years  between  Donatello’s  return  from 
Rome  and  his  journey  to  Padua  belongs  his  great  work  for  the 
Duomo  of  Florence  and  the  decorations  for  the  Sacristv  of  S. 

J 

Lorenzo.  For  the  Duomo,  Donatello  divided  the  work  with  Luca 
della  Robbia.  For  the  S.  Lorenzo,  which  was  begun  by  Brunel- 
leschi in  1421,  Donatello  furnished  eight  Totidi,  picturing  four 
Evangelists  and  four  scenes  from  the  life  of  St.  John  the  Evangelist. 
The  Evangelists  are  shown  as  seated  on  thrones  of  stone,  each  stone 
being  separate  and  all  the  seats  being  in  the  style  of  the  Roman 
bishops.  The  entire  series  consist  of  Matthew,  Mark,  Luke,  and 
John;  St.  John  at  Patmos,  the  Resurrection  of  Drusiana,  the  Mar- 
tyrdom of  St.  John,  and  the  Assumption  of  St.  John. 

If  these  eight  reliefs  date  prior  to  1440,  then  the  bronze  doors 
which  separate  the  large  Sacristy  from  the  two  wings  undoubtedly 
belong  to  the  time  previous  to  Donatello’s  departure  for  Padua. 
There  was  much  discussion  at  the  time  about  the  material  in  which 
these  reliefs  were  to  be  executed.  It  was  thought  that  wood  would 
be  the  most  desirable  medium,  but  bronze  was  finally  decided  upon. 
The  choice  of  material  was  not  a happy  one,  because  bronze  affects 
the  eye  as  heavy,  and  the  position  in  which  the  doors  are  placed 
deepens  this  impression,  and  does  not  afford  the  soft  light  necessary 
for  seeing  this  kind  of  work  to  the  best  advantage.  Ghiberti’s  aston- 
ishing achievements  gave  Donatello  and  Cosimo  de’  Medici  no  rest. 
Rome  and  Siena  had  given  their  orders  for  bronze  doors  and  the 
Duomo  of  Florence  had  received  its  Sacristy  portals  from  this  tireless 
worker.  The  Church  of  the  Medicis,  therefore,  must  not  be  behind- 
hand. The  two  portals  for  S.  Lorenzo  were  ordered  and  delivered. 
The  division  into  ten  compartments  is  the  same  as  that  of  Ghiberti’s 
second  door  opening  on  to  the  street;  but  the  framework  is  much 
more  distinguished.  All  the  twenty  compartments  are  entirely  de- 

16 


voted  to  illustrating  the  one  theme  of  the  Disputation.  We  look  in 
vain  for  any  superscriptions  which  would  explain  the  various  themes, 
but  the  work  is  magnificently  enriched  with  the  play  of  its  figures 
and  with  decorations  of  palms  and  books.  Above  the  portals  stand 
the  large-size  figures  of  the  patron  saints  of  the  Medicis — St.  Law- 
rence, St.  Stephen,  St.  Cosimo,  and  St.  Damiano. 

When  Donatello  received  the  call  from  Padua  he  was  fifty- 
seven  years  of  age.  He  remained  in  Padua  ten  years.  Vasari  states 
that  he  was  brought  to  that  city  to  execute  the  equestrian  statue  of 
Gattamelata,  but  the  discovery  of  a series  of  documents  in  1895 
proves  conclusively  that  he  was  sent  for  to  restore  the  Church  of  S. 
Antonio.  Donatello  took  with  him  but  one  assistant;  but  he  re- 
ceived so  many  commissions  while  in  Padua  that  he  was  compelled 
to  gather  around  him  a large  number  of  helpers.  In  addition  to 
this  equestrian  statue  of  Gattamelata  ordered  by  the  Narni  family, 
the  chapter  of  the  Santo  commissioned  him  to  finish  a new  high 
altar  with  numerous  statues  and  reliefs;  the  Princes  of  the  Poe  Val- 
ley— Gonzaga  of  Mantua,  Este  of  Ferrara — begged  for  his  art;  and 
even  Venice  thought  him  of  sufficient  importance  as  a master  to 
give  him  work.  When,  in  1454,  he  left  Padua,  the  city  was  enriched 
with  a magnificent  statue  before  its  Duomo,  a splendid  high  altar 
with  seven  life-size  bronze  figures  and  twenty-two  bronze  reliefs 
beneath  the  red-white  marble  pillars  of  the  Choir.  It  can  be  quite 
understood,  then,  why  it  was  that  the  Paduans  held  this  man  in  the 
highest  esteem.  He  left  the  city  followed  by  deep  regrets  of  the  citi- 
zens. Donatello,  however,  could  never  remain  very  long  away  from 
his  beloved  Florence.  He  longed  to  be  back  to  the  Cupola.  More- 
over, the  climate  of  Padua  did  not  agree  with  him,  and  Cosimo  de’ 
Medici  had  sent  word  that  he  wanted  him  to  give  the  finishing 
touches  to  S.  Lorenzo,  which  was  now  nearing  its  completion. 

Although  in  his  sixty-eighth  year,  Donatello  still  retained  much 
of  his  youthful  vigor  and  energy.  He  returned  to  Florence  a poor 
man.  Donatello  was  no  money-grubber.  His  coffers  were  always 
open  and  his  money-bag  hung  from  the  ceiling  of  his  studio  for 
any  friend  to  dip  into  who  might  be  in  need.  We  even  hear  from 
Vesparano  Bisticci  of  actual  want.  It  may  be  that  the  most  impelling 
motive  of  Donatello’s  return  was  his  desire  for  the  companionship  of 
his  dear  old  friend,  Brunelleschi,  with  whom  he  often  consulted  and 
for  whom  he  had  a very  profound  admiration  and  affection.  During 
Donatello’s  absence  from  Florence  many  things  had  been  done  in 
that  city;  so  that  when  he  returned  he  found  great  changes.  Ghiberti 

*7 


had  uncovered  his  golden  tower  of  the  Baptistry;  Michelozzo  had 
built  a great  country  place  in  the  Via  Larga  for  the  Medici;  the  be- 
loved Church  of  S.  Lorenzo  was  nearly  finished;  the  Puzzi  Chapel 
was  almost  ready,  and  Donatello  could  not  but  admit  to  himself  that 
Luca  della  Robbia’s  Evangelist  made  a finer  impression  than  his  own 
in  the  Sacristy  of  S.  Lorenzo;  and  the  beautiful  Tabernacle  had  been 
perfected  with  the  Annunciation  of  Pagno  di  Lapo  Portigiani. 
What  must  have  been  Donatello’s  feelings  as  he  contemplated  all 
these  achievements?  Was  it  possible  that  he,  an  old  man  of  nearly 
seventy,  could  hope  to  rival  the  work  so  splendidly  manifesting  itself 
in  the  clear  atmosphere  of  Florence?  But  such  thoughts  could  not 
have  disturbed  Donatello  for  long.  His  was  the  nature  to  do  and 
not  to  regret  nor  to  waste  himself  in  idle  contemplation.  To  the 
later  years  of  his  life  belong  his  Judith,  which  remains  to-day,  with 
Cellini’s  Perseus,  the  very  symbol  of  Quattrocento  art;  the  four  com- 
missions he  did  for  Siena;  and  finally  the  four  statues  of  saints  in 
stucco  for  the  Church  of  S.  Lorenzo. 

The  Judith  group  Donatello  cast  as  a fountain  piece  for  the 
Court  of  the  Medici  palace  built  by  Michelozzo.  The  bronze 
reliefs  for  the  two  pulpits  in  the  nave  of  S.  Lorenzo  were  the  last 
works  on  which  Donatello  was  engaged.  Bellano  and  Bartoldo 
worked  with  him  on  these  and  carried  his  sketches  to  completion  and 
realization.  The  South  Pulpit  bears  Donatello’s  signature. 

Donatello  died  on  the  13th  of  December,  1466,  two  years  after 
the  death  of  his  great  patron,  Cosimo  de’  Medici.  Donatello  is  per- 
haps the  most  splendid  example  of  Florentine  Quattrocento  art.  His 
name  must  be  inscribed  along  with  the  names  of  Brunelleschi  and 
Leonardo.  No  artist  of  his  time  attained  to  the  heights  of  the  crea- 
tions, which  are  the  fruits  of  his  plastic  genius.  In  our  estimation, 
he  is  the  most  important  figure  in  that  pioneer  age  of  art,  which  pre- 
ceded the  great  days  of  Lorenzo  the  Magnificent. 


18 


DONATELLO 


ABBREVIATIONS  AND  EXPLANATIONS 


H.  = Height 
B.  = Width 


Auk  HoLz  = on  wood 
Auf  Leinw/\nd  = oii  canvas 
Auf  Schiefer  = oh  slate 


The  figures  giving  the  sizes  of  the  paintings  stand  for  metres 


*Florenz,  Dom  (Porta  della  Mandorla) 

Propheten-Statuetten 

Statuettes  of  prophets  1406—1408 


Marmor 


Statues  de  prophetes 


Donatello  1 


1 


Florenz,  Mu  .eo  Nazionale 


David 

1410-1412 


Marmor 


'■■•A-:  ■ . • . •>.  - 


Florenz,  Dom  Marmor 

St.  Johannes  der  Evangelist 

St.John  the  Evangelist  1412-1415  Saint  Jean  l’Evangeliste 


Florenz,  Or  San  Michele 

Marmor 

St.  Markus 

St.  Mark 

1412 

Saint  Marc 

*Florenz,  Or  San  Michele 


St.  Mark 


St.  Markus 

1412 


M arm  or 


Saint  Marc 


5 


•Florenz,  Or  San  Michele  Marmor 

Nanni  di  Banco:  St.  Petrus 

St.  Peter  Um  1415  Saint  Pierre 


6 


Florenz,  Or  San  Michele 

St.  Georg 

1416 


Bronze  (Kopie) 


St.  George 


Saint  George 


Florenz,  Or  San  Michele 

St.  Georg 

Bronze  (Kopie) 

St.  George 

1416 

Saint  George 

8 


Florenz,  Museo  Nazionale 


St.  George 


Marmor  (Original) 


St.  Georg 

1416 


Saint  George 


9 


Florenz,  Museo  Nazionale 

St.  Georg 

1416 


Marmor 


St.  George 


Saint  George 


Florenz,  Museo  Nazlonale 

Marmor 

St.  Georg 

St.  George 

1416 

Saint  George 

11 


12 


Florenz,  Or  San  Michele  Marmor 

Oben:  Sockel  am  Fu6  des  Tabernakels  mit  Andrea  del  Verrocchios  Gruppe  „Christus  und  Thomas"  (vgl.  S.  21)  1423 
Unten:  St.  Georg  bekampft  den  Drachen,  vom  Tabernakel  des  „St.  Georg"  (vgl.  S.  7)  1416 
Above:  Pedestal  of  the  tabernacle  of  „Cluist  and  Thomas"  En  haut:  Socle  du  tabernacle  de  „Le  Christ  et  Saint  Thomas" 

Below:  St.  George  and  the  dragon  (tabernacle  of  „St.  George")  En  bas : Saint  George  et  le  dragon  (tabernacle  de  Saint  George) 


*FIorenz,  Campanile 


*Florenz,  Dom 


Marmor 


Josua 

Joshua 

1412 

Josue 

Sogen.  Poggio  Bracciolini 
The  so-called  1415—1420  Statue  nominee 
Poggio  Bracciolini  ’ Poggio  Bracciolini 


13 


• to  CQ 

• CO 


_ -T- 


14 


*Florenz,  Campanile 


Hiob.  Sogen.  Zuccone 

Job  1423-1426  Job 

(the  so-called  Zuccone)  (nomme  Zuccone) 


Marmor 


Jeremias 

Jeremiah  1425  Jeremie 


15 


*Florenz,  Campanil ; 

Abraham  und  Isaak 

Marmor 

Abraham  and  Isaac 

1421 

Abraham  et  Isaac 

16 


*Florenz,  Piazza  della  Slgnoria  Bronze  (Replik),  Sockel  Sandsteln 

Sitzender  Lowe  (Marzocco) 

Sitting  lion  (Marzocco)  on  its  1418—1421  Lion  assis  (nomme  Marzocco) 

ancient  pedestal  sur  l'ancien  piedestal 


onatello  2 


17 


'‘Florenz,  Museo  Nazionale 


Sandstein 

Sitzender  Lowe  (Marzocco) 

Sitting  lion  (the  so-called  Marzocco)  1418—1421  Lion  assis  (nomme  Marzocco) 


*■  Florenz,  Museo  Nazionale 


Sandstein 


Sitzender  Lowe  (Marzocco) 


Sitting  lion  (the  so-called  Marzocco)  1418—1421 


Lion  assis  (nomme  Marzocco) 


19 


Florenz,  S.  Croce 


Christ  cn  the  cross 


Christus  am  Kreuz 
Urn  1420 


Le  Christ  en  croi: 


20 


*Florenz,  Or  San  Michele  Bronze  und  Marmor 

Christus  und  Thomas 

Das  Tabernakel  von  Donatello  und  Michelozzo,  die  Gruppe  von  Andrea  del  Verrocchio 
1423  1476—1483 

Christ  and  St.  Thomas  Le  Christ  et  Saint  Thomas 

The  tabernacle  by  Donatello  and  Michelozzo,  Le  tabernacle  par  Donatello  et  Michelozzo, 

the  group  by  Andrea  del  Verrocchio  le  groupe  par  Andrea  del  Verrocchio 


21 


Florenz,  Or  San  Michele 


Marmor 


Vom  Sockel  des  Markus-Tabernakels  (vgl.  S.  4) 

From  the  socle  of  St.  Mark's  statue  1412  Du  socle  de  la  statue  de  Saint  Marc 


♦Florenz,  Or  San  Michele 


Marmor 


Giebelfeld  vom  Tabernakel  der  Gruppe  „Christus  und  Thomas“ 


Tympanum  of  the  tabernacle  of 
„Christ  and  St.  Thomas" 


1423 


Tympan  du  tabernacle 
Le  Christ  et  Saint  Thomas 


22 


Florenz,  S.  Croce 

St.  Ludwig 

Bronze 

St.  Louis 

Vollendet  1423 

Saint  Louis 

*Florenz,  Baptisterlum 


Marmor  und  Bronze 


Grabmal  des  Papstes  Johann  XXIII. 

1425-1427 

Sepulchre  of  Pope  John  XXIII  Monument  funerahe  du  Pape  Jean  XXIII 


f. . 


u 


V "At  4 W1)WV\ 
X^lliOBUTf  I QKtf  n» 
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24 


25 


* Florenz,  Baptisterium  Bronze  und  Marmor 

Detail  vom  Grabmal  des  Papstes  Johann  XXIII. 

Detail  of  the  sepulchre  of  Pope  John  XXIII  1425-  1427  Detail  du  monument  funeraire  du  Pape  Jean  XXIII 


26 


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27 


* Siena,  S.  Giovanni  (Taufbrunnen) 


Solome’s  dance 


Bronze 

Der  Tanz  der  Salome 

1425  La  danse  de  Salome 


28 


29 


Berlin,  Kalser-Frledrlch-Museum  Bronze  *Slena,  S.  Giovanni  Bronze  *Slena,  S.  Giovanni  Bronze 

Putten  vom  Taufbrunnen  in  Siena 

Putti  from  the  baptismal  fountain  in  Siena  1428  Putti  des  fonts  baptismaux  e Sienne 


Siena,  S.  Giovanni  (Taufbrunnen)  Bronze 

Kuppel  des  Taufbrunnens 

Cupola  of  the  baptismal  fountain  1428  Coupole  des  fonts  baptismaux 

Faith  Glaube  Foi  Hope  Hoffnung  Esperance 


* London,  Herzog  von  Westminster 

Amor 

Bronze 

Cupid 

Um  1430 

Cupidon 

32 


* London, Victoria  und  Albert-Museum  Bronze  * Florenz,  Museo  Nazionale  Bronze 

Putto-Fontaine  Cupid  Amor-Atys  Cupidon 

Um  1430  Um  1430 


Donatello  3 


33 


* Berlin,  Kalser-Frledrich-Museum  Marmor 

Die  GeiBelung  Christi 

Christ's  flagellation  Um  1425  La  flagellation  du  Christ 


F!orenz,  Musto  Nazionale  Bronze 

David 

Um  1430 


34 


Florenz,  Museo  Nazionale 

David’s  head 


Der  Kopf  des  David 


La  tete  de  David 


35 


* Florenz,  Museo  Nazionale  Bronze 

Biiste  eines  Junglings 

Um  1430  Buste  d'un  jeune  homrae 


Bust  of  a youth 


*Florenz,  Museo  Nazlonale 

St.  John  the  Baptist 


Marmor 


Marmor  Florenz,  Casa  Martelli 

St.  Johannes  der  Tauter 

Um  1430  Saint  Jean  Baptiste 


37 


♦Berlin,  Kaiser-Friedrlch-Museum 


Bronze  *Florenz,  Casa  Marfelli 


Marmor 


David  - Statuette 

Um  1430 


David 

Um  1430 


38 


* Florenz,  Museo  Nazionale  Sant 

St.  Johannes  der  Tauter  als  Knabe 

St.  John  the  Baptist  Um  143Q  Saint  Jean  Baptiste 

when  a child  jeune 


40 


Neapel,  S.  Angelo  a Nilo  Marmor 

Himmelfahrt  Maria.  Vom  Grabmal  des  Kardinals  Rinaldo  Brancacci 
The  assumption  of  the  Virgin  142?  L’assomption  de  la  Vierge 

Relief  from  the  monument  of  cardinal  Rinaldo  Brancacci  ~ Relief  du  lombeau  funeraire  du  cardinal  Rinaldo  Brancacci 


41 


Florenz,  S.  Lorenzo  (Alte  Sakristei)  Marmor 

Sarkophag  des  Giovanni  dei  Medici 

Sarcophagus  of  Giovanni  dei  Medici  Um  1430  Sarcophage  de  Giovanni  dei  Medici 


*Florenz,  Museo  Nazlonale  Ton,  bemalt 

Niccolo  da  Uzzano 

1432 


42 


Niccolo  da  Uzzano 

1432 


Ton,  bemalt 


*FIorenz,  Museo  Nazlonale 


43 


Rom,  St.  Peter 


Sakraments-Tabernakel 
Tabernacle  for  the  consecrated  host  1433 


Marmor 


Tabernacle  du  sacrement 


44 


ij 


*Rom,  S.  Giovanni  in  Laterano 


Bronze 


Grabplatte  des  Papstes  Martin  V. 

Gegossen  von  Simone  Ghini 

Monumental  slab  J433  Plaque  tuniulaire 

of  Pope  Martin  V du  Pape  Martin  V 


46 


London,  Victoria  und  Albert-Museum  Marmor 


Die  Verkiindigung 

Um  1435 


Sandsteln 

L’Annoncialion 


The  annunciation 


Florenz,  S.  Croce 


47 


Florenz,  S. Croce 

Die  Verkiindigung  (Detail  von  S.  47) 

The  Annunciation  Um  1435 

(Detail  of  p.  47) 


Sandstein 


L'Annonciation 
(Detail  de  p.  47) 


48 


Florenz,  S.  Croce  . Sandstein 

Putten  vom  Tabernakel  der  Verkundigung 

Um  1435 

Putti  from  the  tabernacle  of  the  Annunciation  Putti  du  tabernacle  de  l’Annonciation 


Donatello  4 


49 


50 


♦Florenz,  Museo  dell  l’Opera  Marmor 

Sangertribiine  des  Doms 

The  singers'  tribune.  Formerly  in  the  cathedral  1433—1440  Tribune  des  chanteurs.  Autrefois  dans  la  cathedrale 


Florenz,  Museo  dell’  Opera 


Details  von  der  Sangertribiine  des  Doms 

1433-1438 

Details  of  the  singers’  tribune  (p.  50)  Details  de  la  tribune  des  chanteurs  (p.  50) 


51 


Florenz,  Museo  dell’Opera 


Marmor 


Details  von  der  Sangertribiine  des  Doms 
1433—1438 

Details  of  the  singers’  tribune  (p.  50)  Details  de  la  tribune  des  chanteurs  (p.  50) 


52 


Florenz,  Museo  dell’Opera 


Marmor 


Details  von  der  Sangertribiine  des  Doms 

1433-1438 

Details  of  the  singers’  tribune  (p.  50)  Details  de  la  tribune  des  chanteurs  (p.  50) 


Florenz,  Museo  dell’Opera 


Marmor 


Detail  von  der  Sangertribiine  des  Dorns 


Detail  of  the  singers’ 
tribune  (p.  50) 


1433-1438 


Detail  de  la  tribune  des 
chanteurs  (p.  50) 


to/) 

c p 
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^3  QJ 
T3  T3 

g O 
g JC 
o ^ 


55 


Prato,  Dom  Sandsteln,  Marmor  und  Bronze 

AuBenkanzel 

Pulpit  at  the  outside  of  the  church  1434—1438  Chaire  en  dehors  de  la  cathedrale 


56 


57 


Tanzende  Putten.  Erstes  Detail  von  der  Briistung  der  Aufienkanzel 
Dancing  putti.  On  the  pulpit  ] 434 — 1438  Anges  dansant.  De  la  chaire 


58 


Tanzende  Putten.  Zweites  Detail  von  der  Briistung  der  Aufienkanzel 
Dancing  putti.  On  the  pulpit  1434—1438  Anges  dansant.  De  la  chaire 


59 


Tanzende  Putten.  Urittes  Detail  von  der  Briistung  der  Aufienkanzel 
Dancing  putti.  On  the  pulpit  1434—1438  Anges  dansant.  De  la  chaire 


Prato,  Doni  Marmor 

Tanzende  Putten.  Reliefs  an  der  Brustung  der  AuBenkanzel 
Dancing  pulti.  On  the  pulpit  1434-1438  Anges  dansant.  De  la  chaire 


60 


Prato,  Dom  Marmor 

Tanzende  Putten.  Reliefs  an  der  Briistung  der  Aufienkanzel 

Dancing  putli.  Or.  the  pulpit  1434—1438  Anges  dansant.  De  la  chaire 


Praio,  Dorn 

Tanzende  Putten. 
Dancing  Putti.  On  the  pulpit 


Marmor 

Reliefs  an  der  Brtistung  der  AuBenkanzel 

1434—1438  Anges  dansant.  De  la  chaire 


Prato,  Doui 

Tanzende  Putten. 
Dancing  putti.  On  the  pulpit 


Marmor 

Relief  an  der  Briistung  der  Aufienkanzel 

1434—1438  Anges  dansant.  De  la  chaire 





Prato,  Dom 

Capital  of  the  pilaster. 


Bronze 

Kapital  an  der  Aufienkanzel 

On  the  pulpit  1433  Chapiteau  du  pilastre.  De  la  chaire 


63 


64 


Die  Schliisseltibergabe  an  Petrus 

St.  Peter  receiving  the  key  Um  1438  Saint  Pierre  recevant  la  clef 


* London,  Victor! a und  Albert-Museum 


So-called  bust  of  St.  Cecilia 


Sogen.  heilige  Cacilie 

Um  1440 

Buste  d'une  femme  nommee  Sainte  Cecile 


Donatello  5 


65 


*Florenz,  S.  Lorenzo  (Alte  Sakristei) 

St.  Lorenz 

Ton 

St.  Laurence 

Um  1440 

Saint  Laurent 

66 


* Berlin,  Kaiser-Frledrich-Museum 

St.  John  the  Baptist 


St.  Johannes  der  Tauter 

Um  1440 


Stucco,  bemalt 

Saint  Jean  Baptiste  ] 


67 


* Florenz,  Museo  Nazionale 


The  so-called  bust 
of  Antonio  dei  Narni 


Sogen.  Antonio  dei  Narni 

Um  1440 


Bronze 

Buste  d'un  homme 
nomme  Antonio  dei  Narni 


68 


69 


70 


Florenz,  S.  Lorenzo  (Alte  Sakristei) 


71 


72 


Florenz,  S.  Lorenzo  (Alte  Sakrlstei)  Ton 

Johannes  auf  Patmos  Die  Erweckung  der  Drusiana 

St.  John  at  Patmos  Um  1440  Saint  Jean  a Patmos  The  resurrection  of  Drusiana  Urn  1440  La  resurrection  de  Drusiane 


73 


Florenz,  S.  Lorenzo  (Alte  Sakristei)  Ton 

Das  Ol-Martyrium  des  Johannes  Die  Himmelfahrt  des  Johannes 

The  martyrdom  of  St.  John  Um  1440  Le  martyre  de  Saint  Jean  The  assumption  of  St.  John  Um  1440  L'assomption  de  Saint  Jean 


Florenz,  S.  Lorenzo  (Alte  Sakristei)  B 

Linke  Tiire  zur  Sakristei 

Door  of  the  sacristy  Um  1440  Porte  de  la  sacristie 


74 


Florenz,  S.  Lorenzo  (Alte  Sakrlstel) 

Rechte  Tur  zur  Sakristei 


Door  of  the  sakristy 


Urn  1440 


Porte  de  la  sacristie 


75 


Florenz,  S.  Lorenzo 


Details  of  the  door  p.  74 


Bronze 

Details  der  Tiir  auf  S.  74 

Um  1440  Details  de  la  porte  p.  74 


76 


Florenz,  S.  Lorenzo  Bronze 

Details  der  Ttir  auf  S.  74 

Details  of  the  door  p.  74  Um  1440  Details  de  la  porte  p.  74 


77 


m 

m 

T0'**  4 

lb'-* 

: D 

Florenz,  S.  Lorenzo  Bronze 

Details  der  Tiir  auf  S.74 

Details  of  the  door  p.  74  Um  1440  Details  de  la  porte  p.  74 


Florenz,  S.  Lorenzo  Bronze 

Details  der  Ttir  auf  S.  74 

Details  of  the  door  p.  74  Um  1440  Details  de  la  porte  p.  74 


79 


Florenz,  S.  Lorenzo  Bronze 

Details  der  Tiir  auf  S.  74 

Details  of  the  door  p.  74  Um  1440  Details  de  la  porte  p.  74 


Donatello  6 


81 


Florenz,  S.  Lorenzo  (Alte  Sakristei)  Ton 

S.  Lorenzo  und  S.  Stefano  S.  Cosma  und  S.  Damiano 

St.  Laurence  and  St.  Stephen  Um  1440  Saint  Laurent  et  Saint  Etienne  St.  Cosmus  and  St.  Damianus  Um  1440  Saint  Cosme  et  Saint  Damien 


♦London,  Victoria  und  Albert-Museum  Stuck,  bemalt 

Thronende  Madonna  mit  Engeln  und  Heiligen 

The  Virgin  enthroned,  with  „ „ . La  Vierge  sur  le  trone  entouree 

& (I.  uruppe)  J 

angels  and  saints  par  des  anges  et  des  saints 


82 


* Berlin,  Kaiser-Friedrich-Museum  Marmor 

Madonna  di  Casa  Pazzi 

The  Virgin  with  Child  (I.  Gruppe)  La  Vierge  et  l’Enfant 


83 


♦London,  Victoria  und  Albert-Museum 


The  Virgin  with  Child 


Madonna  mit  der  Rose 

(I.  Gruppe) 


Marmor 


La  Vierge  et  l’Enfant 


84 


85 


♦Berlin,  Kaiser-Friedrich-Museum  Gebrannter  Ton  * Berlin,  Kaiser-Friedrich-Museum  Casta  pesta 

Madonna  mit  der  gotischen  Leiste  Madonna  mit  der  Rose 

The  Virgin  with  Child  (II.  Qruppe)  LaVierge  et  l’Enfant  The  Virgin  with  Child  (I.  Gruppe)  La  Vierge  et  TEnfant 


* Boston,  Quincy  A.  Shaw  Marmor 

Maria  in  Wolken 

The  Virgin  in  the  clouds  (I.  Gruppe)  La  Vierge  dans  les  nuages 


86 


87 


Berlin,  Kalser-Frledrich-Museum  Pfelfenton  Florenz,  Prlvatbesitz  Ton 

Madonna,  das  Kind  hochhaltend  Madonna,  das  Kind  hochhaltend 

The  Virgin  with  Child  (II.  Gruppe)  La  Vierge  et  l’Enfant  The  Virgin  with  Child  (II.  Gruppe)  La  Vierge  et  TEnfant 


♦Paris,  Louvre 


Ton 


The  Virgin  adoring  Christ 


Madonna,  das  Kind  anbetend 

(II.  Gruppe)  L’Enfant  adore  par  la  Vierge 


♦London,  Victoria  und  Albert-Museum 


The  Virgin  adoring  Christ 


Madonna  mit  dem  Stuhl 

(II.  Gruppe) 


L’Enfant  adore  par  la  Vierge 


89 


* Paris,  Louvre 

The  Virgin  with  Child 


Ton,  bemalt 


Madonna  mit  dem  Kinde 

(II.  Gruppe) 


La  Vierge  et  l’Enfant 


90 


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* Florenz,  S.  Croce 


Sepulchre 
of  Lombardi 


Marmor 

Grabmal  Lombardi 

(II.  Gruppe  Monument  funeraire 

der  Madonnen)  de  Lombardi 


Florenz,  Prlvatbesltz  Stucco 

Madonna  mit  dem  Kinde 

The  Virgin  with  Child  (II.  Gruppe)  La  Vierge  et  l’F.nfant 


* Paris,  Louvre  Bronze 

Madonna  mit  Kind  und  Engeln 

The  Virgin  with  Child  and  angels  (II.  Gruppe)  La  Vierge,  l’Enfant  et  des  anges 


93 


*Koln,  Sammlung  Schniitgen 


Berlin,  Kaiser-Friedrich-Museum 


Silber-  Plakette 
(I.  Madonnen-Gruppe) 


Blei-Plakelte 
(I.  Madonnen-Gruppe) 


Berlin,  Kaiser-Friedrich-Museum 


Putten-Relief 


Plaketts 


Plaketten 

Um  1440 


Plaquettes 


Berlin,  Kaiser-Friedrich-Museum 

Kandelaber-Madonna 


Berlin,  Kaiser-Friedrich-Museum 


Madonna  in  der  Apsis 


Berlin,  Kaiser-Friedrich-Museum 

Geiflelung  Christi 


Plaketts 


Plaketten 

TJ  in  1440 


Plaquettes 


*Padua,  St.  Antonio 

Der  Hochaltar,  von  vorn  gesehen,  in  neuer  Aufstellung 
The  high  altar,  in  the  front  Le  maitre-autel,  vu  de  face 


96 


* Padua,  S.  Antonio 

Bronze 

Christus  am  Kreuz 

Christ  on  the  cross 

1443—1445 

Le  Christ  en  croix 

Donatello  7 


97 


* Padua,  S.  Antonio 

Christus  am  Kreuz.  Detail  von  S.  97 

Christ  on  the  cross  1443—1445 

(Detail  of  p.  97) 


Bronze 


Le  Christ  en  croix 
(Detail  de  p.  97) 


98 


Padua,  S.  Antonio  Bronze 

Madonna  mit  dem  Kinde 

The  Virgin  with  Child  1445—1448  La  Vierge  et  TEnfant 


100 


♦Padua,  S.  Antonio  Bronze 

St.  Ludwig  Daniel  St.  Franziskus 

St.  Louis  Saint  Louis  Daniel  1445—1450  Daniel  St.  Francis  Saint  Francois 


101 


* Padua,  S.  Antonio  Bronze 

St.  Antonius  St.  Justina  St.  Prosdozimus 

St.  Antonius  Saint  Antoine  St.  Justina  1445—1450  Sainte  Justine  St.  Prosdozimus  Saint  Prosdozimus 


. Ant.  Chellino  (?)  2.  Ant.  Chellino  (?)  3.  Urbano  da  Cortona  4.  Urbano  da  Cortona 


102 


Flote  Flote  Harfe  Mandoline 

Musizierende  Engel 

Angels  making  music  1446—1450  Anges  musiciens 


Giovanni  da  Pisa  6.  Donatello  7.  Donatello  8.  Giovanni  da  Pisa 


103 


Trommel  Sanger  Sanger  Geige 

Musizierende  Engel 

Angels  making  music  1446—1450  Anges  musiciens 


Giovanni  da  Pisa  10.  Francesco  Valente  (?) 


101 


Becken  Tamburin  Diaulcs  Diaulos 

Musizierende  Engel 

Angels  making  music  1446—1450  Angels  musiciens 


Padua,  S.  Antonio  Bronze 

Symbol  des  Evangelisten  Matthaus 

Symbol  of  St.  Mathew  the  Evangelist  1445—1448  Symbole  de  Saint  Mathieu  l'Evangeliste 


105 


Symbol  des  Evangelisten  Johannes 

Symbol  of  St.John  the  Evangelist  M45 — 1448  Symbole  de  Saint  Jean  l’Evangeliste 


* Padua,  S.  Antonio 


Bionze 


106 


Padua,  S.  Antonio  Bron 

Symbol  des  Evangelisten  Markus 

Symbol  of  St.  Mark  the  Evangelist  1445—1448  Symbole  de  Saint  Marc  l'Evangeliste 


107 


Symbol  des  Evangelisten  Lukas 

Symbol  of  St.  Luke  the  Evangelist  1445—1448  Symbole  de  Saint  Luc  l’Evangeliste 


Bronze 


Padua,  S.  Antonio 


108 


109 


Der  redende  Saugling 

The  infant  s confession  1445 — 1448  La  confession  du  nouveau-ne 


110 


Das  Esel-Wunder  in  Rimini 

The  miracle  of  the  ass  at  Rimini  1445—1448  Le  miracle  de  l’ane  a Rimini 


Ill 


Padua,  S.  Antonio  Bronze 

Das  Herz  des  Geizigen 

The  miser’s  heart  1445—1448  Le  coeur  de  l'avare 


112 


Padua,  S.  Antonio 


Bronze 


Pi  eta 

The  mourning  over  Christ  1445—1448 


Le  Christ  pleure 


Donatello  8 


113 


*Padua,  S.  Antonio 


The  raisen  Christ 


Bronze 

Sportello 

1445—1448  Le  Christ  ressuscite 


114 


115 


Padua,  S.  Antonio  Stein  auf  farbigem  Grund 

Die  Grablegung  Christi 

The  sepulture  of  Christ  1445—1448  La  sepulture  de  Jesus-Christ 


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116 


Der  Hochaltar,  von  ruckwarts  gesehen,  in  neuer  Aufstellung 


*Padua,  Platz  vor  S.  Antonio  Bronze 

Denkmal  des  Gattamelata 

Monument  of  Gattamelata  1446—1447  Monument  de  Gattamelata 


117 


♦Padua,  Platz  vor  S.  Antonio  Bronze 

Denkmal  des  Gattamelata,  von  Osten  aus 
Monument  of  Gattamelata  1446—1447  Monument  de  Gattamelata 

View  taken  from  the  east  Vu  de  I’est 


118 


* Padua,  Platz  vor  S.  Antonio  Bronze 

Denkmal  des  Gattamelata,  von  Westen  aus 

Monument  of  Gattamelata  1446—1447  Monument  de  Gattamelata 

View  taken  from  the  west  Vu  de  l’ouest 


119 


* Padua,  Platz  vor  S.  Antonio 


Kopf  des  Gattamelata 


Detail  of  the  monument  of  Gattamelata 


1446—1447 


Detail  du  monument  de  Gattamelata 


120 


*Padua,  Platz  vor  S.  Antonio 


Bronze 


Detail  of  the  monument 


Kopf  des  Pferdes  des  Gattamelata 
of  Gattamelata  1446—1447  Detail  du  monument  de  Gattamelata 


121 


Padua,  S.  Antonio  (Kreuzgang)  Marm 

Reliefs  vom  Sockel  des  Gattamelata-Denkmals 

Reliefs  from  the  pedestal  ^ 1453  Reliefs  du  socle 

of  the  Gattamelata  monument  du  monument  de  Gattamelata 


122 


123 


London,  Victoria  und  Albert-Museum  Bronze 

Die  Beweinung  Christi 

The  lamentation  for  Christ  Um  1450  Le  Christ  pleure 


124 


Der  Tanz  der  Salome 

Solome’s  dance  Um  1450  La  danse  de  Salome 


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125 


126 


Paris,  Mme.  E.  Andr£  Bronze  Berlin,  Kaiser-Friedrlch-Museum  Bronze 

Biisten  des  Ludovico  III.  Gonzaga,  Markgrafen  von  Mantua 

Busts  of  Ludovico  III  Gonzaga,  margrave  of  Mantua  Um  1451—1453  Bustes  de  Ludovico  III  Gonzaga,  margrave  de  Mantoue 


127 


* Berlin,  Kalser-Frledrich-Museum  Ton  Berlin,  Sammlung  von  Beckerath  T 

Die  Veroneser  Madonna  Die  Veroneser  Madonna 

The  Virgin  with  Child  (III.  Gruppe)  La  Vierge  et  TEnfant  The  Virgin  with  Child  (III.  Gruppe)  La  Vierge  et  l’Enfant 


Berlin,  Kaiser-Friedrlch-Museum  Stucco 

Die  Berliner  Madonna 

The  Virgin  with  Child  and  angels  (111.  Gruppe)  La  Vierge,  l’Enfant  et  des  anges 


128 


♦Paris,  Louvre 

Madonna  von  Fontainebleau 

Bronze 

The  Virgin  with  Child 

(III.  Gruppe) 

La  Vierge  et  l’Enfant 

Donatello 


9 


129 


Florenz,  Privatbesitz  Stucco,  bemalt 

Madonna  mit  Kind  und  Engeln 

The  Virgin  with  Child  and  angels  (III.  Gruppe)  La  Vierge,  l’Enfant  et  des  anges 


130 


131 


♦Paris,  Louvre  Stein  Paris,  Sammlung  R.  Kann  Ton 

Madonna  Davillier  Madonna  mit  dem  Kinde 

(III.  Gruppe)  (III.  Gruppe) 

The  Virgin  with  Child  and  angels  La  Vierge,  TEniant  et  des  anges  The  Virgin  with  Child  La  Vierge  et  l'Enfant 


Florenz,  Loggia  dei  Lanzi  Bronze 

Judith  und  Holofernes 

Judith  and  Holofernes  Um  1455  Judith  et  Holopherne 


Florenz,  Loggia  del  Lanzi  Bronze 

Judith  und  Holofernes 

Judith  and  Holofernes  Um  1455  Judith  et  Holopherne 


♦Florenz,  Loggia  dei  Lanzi 


Bronze 


Sockelreliefs  von  der  Gruppe  „Judith  und  Holofernes“ 

Reliefs  on  the  pedestal  of  Urn  1455  Reliefs  du  socle  de 

Judith  and  Holofernes"  Judith  et  Holopherne 


134 


135 


Florenz,  Loggia  del  Lanzi  Bronze 

Sockelrelief  an  der  Gruppe  „ Judith  und  Holofernes“ 

Relief  on  the  pedestal  of  „ Judith  and  Holofernes"  Um  1455  Relief  du  socle  de  „Judith  et  Holopherne" 


*Venedig,  S.  Marla  del  Frarl 


St.  John  the  Baptist 


Johannes  der  Taufer 

Um  1450 


Holz,  bemalt 


Saint  Jean  Baptiste 


* Florenz,  Baptisterium 

Maria  Magdalena 

St.  Mary  Magdalen 

Um  1455 

Sainte  Marie  Madeleine 

137 


Siena,  Dom  Bronze 

Johannes  der  Taufer 

St.  John  the  Baptist  1457  Saint  Jean  Baptiste 


138 


Florenz,  Museo  Nazionale 


Bronze 


The  crucifixion 


Die  Kreuzigung  Christi 

Um  1455 


La  crucifixion 


139 


ill  m 


* London,  Victoria  und  Albert-Museum 

Skizze  fiir  einen  Altar  der  Forzori 

Sketch  for  an  altar  Um  1460 


Ton 


Esquisse  d’autel 


1 10 


Florenz,  S.  Lorenzo  Bronze 

Kanzel  an  der  Sudseite  des  Mittelschiffs 

Pulpit  on  the  southern  side  of  the  middle  nave  Um  1460  Chaire  du  cote  du  sud  de  la  nef  du  milieu 


141 


142 


Florenz,  S.  Lorenzo  Bronze 

Christus  in  der  Vorholle  Auferstehung  Himmelfahrt  Christi 

Christ  in  the  limbo  Le  Christ  dans  les  limbes  The  resurrection  of  Christ  La  resurrection  The  assumption  of  Christ  L’assomption  de  Jesus-Christ 

Detail  der  Kanzel  auf  S.  141 

Um  1460 


143 


Florenz,  S.  Lorenzo  Bronze 

Die  Himmelfahrt  Christi.  Detail  von  S.  141 

The  assumption  of  Christ  Um  1460  L’assomption  de  Jesus-Christ 


144 


Florenz,  S.  Lorenzo 

Die  Ausgiefiung  des  heiligen  Geistes.  Seitentei  1 der  Kanzel  auf  S.  141 
The  descent  of  the  Holy  Ghost  Um  1460  La  descente  du  Saint-Esprit 


Donatello 


10 


145 


* Florenz,  S.  Lorenzo  Bronze 

S.  Lorenzo  auf  dem  Rost  Riickseite  der  Kanzel  auf  S.  141  Staupung  Christi 

St.  Laurence  on  the  grill  Sant  Laurent  sur  la  grille  Um  1460  Christ’s  flagellation  La  flagellation  du  Christ 


Florenz,  S.  Lorenzo 


Bronze 


Kanzel  an  der  Nordseite  des 

Pulpit  on  the  northern  side  of  the  Um  1460 

middle  nave 


Mittelschiffs 

Chaire  du  cote  du  nord  de  la  nef 
du  milieu 


146 


147 


Florenz,  S.  Lorenzo  Bronze 

Die  Kreuzigung  Christi  Detail  der  Kanzel  auf  S.  146  Kreuzabnahme 

The  crucifixion  La  crucifixion  Um  1460  Christ’s  descent  from  the  cross  La  descente  de  croix 


148 


Die  Kreuzigung  Christi.  Detail  der  Kanzel  auf  S.  146 
The  crucifixion  Um  1460  La  crucifixion 


149 


Kreuzabnahme.  Detail  der  Kanzel  auf  S.  146 
Christ's  descent  from  the  cross  Um  1460  La  descente  de  croix 


Bronze 

Florenz,  S.  Lorenzo 

Christus  vor  Kaiphas  und  Pilatus.  Seitenteil  der  Kanzel  auf  S.  146 
Christ  before  Caiphas  and  Pilatus  Um  1460  Le  Christ  devant  Cai'phe  et  Pdate 


150 


Florenz,  S.  Lorenzo 

Die  Grablegung  Christi. 
The  sepulture  of  Christ 


Seitenteil  der  Kanzel  auf  S.  146 

Um  1460  La  sepulture  de  Jesus-Chiist 


151 


152 


Florenz,  S.  Lorenzo 

GeiBelung  Christi  Der  Evangelist  Joliannes  Der  Oelberg 

Christ  s flagellation  La  flagellation  du  Christ  St.  John  the  Evangelist  Saint  Jean  Evangeliste  The  mount  of  olives  Le  mont  des  oliviers 

Riickseite  der  Kanzel  auf  S.  146 

U m 1 460 


153 


Diomedes  raubt  das  Pallium  Faun  mit  Bacchuskind 

Nacli  1455 

Diomedes  robbing  the  pallium  Diomede  ravissant  le  pallium  Faun  with  a little  bacchus  Faune  avec  l’enfant  Bacchus 


154 


Florenz,  Palazzo  Rlccardi  (Hof)  Marmor 

Kentaur  mit  Beute  Bacchus  und  Ariadne  auf  Naxos 

Nach  1455 

Centaur  bearing  a basket  Centaure  portant  une  Bacchus  and  Ariadne  at  Naxos  Bacchus  et  Ariadne  a Naxos 

with  fruits  corbeille  avec  des  fruits 


155 


156 


Florenz,  Palazzo  Piccard!  (Hof)  Marmor 

Diidalus  und  lkarus  Triumph  Amors 

Nacli  1455 

Daedalus  and  Icarus  Dedale  et  Icare  Cupid’s  triumph  Le  driomplie  de  Cupidon 


*Siena,  Dom  Marmor 

Madonna  mit  dem  Kinde 

The  Virgin  with  Child  1457  La  Vierge  et  l’Enfant 


157 


ANHANG 


ARBE1TEN  DER  SCHULE  DONATELLOS  UND  NACHBILDUNGEN 

WORKS  OF  THE  SCHOOL  OF  DONATELLO  CEUVRES  DE  L’ECOLE  DE  DONATELLO 

AND  IMITATIONS  ET  IMITATIONS 


* Florenz,  Via  di  Pietra  Piana  t 

Madonna  mit  dem  Kinde 


Marmor 


The  Virgin  with  Child 


La  Vierge  et  l’Enfant 


Donatello  11 


161 


162 


Paris,  Privatbesitz  Marmor  Berlin,  Kaiser-Friedrlch-Museum  Marmor 

Madonna  mit  Kind  und  Engeln  Madonna  mit  dem  Kinde 

The  Virgin  with  Child  and  angels  La  Vierge,  l’Enfant  et  des  anges  The  Virgin  with  Child  La  Vierge  et  l’Enfant 


163 


* London,  Victoria  und  Albert-Museum  Mnrmor  Paris,  Mme.  Andrd  Marmor 

Madonna  mit  Kind  und  musizierenden  Engeln  Madonna  mit  Kind  und  musizierenden  Engeln 

The  Virgin  with  Child  and  La  Vierge,  l’Enfant  et  des  The  Virgin  with  Child  and  La  Vierge,  TEnlant  et  des 

angels  anges  musiciens  angels  anges  musiciens 


164 


^Berlin,  Kaiscr-Friedrlch-Museum  Ton,  bemalt  Florenz,  Privatbesltz  Stucco 

Madonna,  das  Kind  anbetend  Madonna  mit  Kind  und  Engeln 

The  Virgin  adoring  Christ  L’Enfant  adore  par  la  Vierge  The  Virgin  with  Child  La  Vierge,  l’Enfant  et 

and  angels  des  anges 


165 


*Piazzola,  Conte  Camerini  ’ Terracotta  London,  Victoria  und  Albert-Museum  Marmor 

Madonna  mit  dem  Kinde  Madonna  mit  dem  Kinde 

The  Virgin  with  Child  La  Vierge  et  l’Enfant  The  Virgin  with  Child  La  Vierge  et  l’Enfant 


166 


♦Florenz,  Prlvatbesitz  Stucco  *Florenz,  Privatbesitz  Stucco 

Madonna  mit  dem  Kinde  Madonna  mit  dem  Kinde 

The  Virgin  with  Child  La  Vierge  et  l’Enfant  The  Virgin  with  Child  La  Vierge  et  1’Enfant 


167 


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169 


Berlin,  Kaiser-Friedrlch-Museum  Bronze  ^Berlin,  Kaiser-Friedrlch-Museum  Stucco 

Tondo  der  Madonna  mit  Engeln  Tondo  der  Anbetung 

The  Virgin  with  angels  La  Vierge  et  des  anges  The  adoration  of  the  Child  L'adoralion  de  l’Enfant 


170 


Berlin,  Kaiser-Frledrich-Museum  Bronze  * Pisa,  S.  Stefano  dei  Cavalier!  Getrlebenes  Kupfer 

Madonna  unter  dem  Bogen  St.  Rossore 

The  Virgin  with  Child  La  Vierge  et  l’Enfant  St.  Luparus  Um  1427  Saint  Lupare 

(the  so-called  Rossore)  (nomme  Rossore) 


171 


Berlin,  Kaiser-Frledrich-Museum  Stuck,  bemalt  Berlin,  Sammlung  von  Beckerath  Stuck,  bemalt 

Madonna  mit  dem  forteilenden  Kinde  Madonna  mit  dem  Kinde 

The  Virgin  with  Child  La  Vierge  et  1’Enfant  The  Virgin  with  Child  La  Vierge  et  l'Enfant 


172 


1 Berlin,  Kalser-Frledrlch-Museum  Stucco  ^Florenz,  Ceitosa  Marmor  * Berlin,  Kaiser-Friedrich-Museum  Stuck,  bemalt 

Die  sitzende  Madonna  mit  dem  unartigen  Kinde  Grabmal  des  Kardinals  Angelo  Acciaioli  Stehende  Madonna  m.  d.  unartigen  Kinde 

Tlie  Virgin  with  Child  La  Vierge  et  l’Enfant  Sepulchre  of  the  cardinal  Plaque  tumulaire  du  car-  The  Virgin  with  Child  La  Vierge  et  l’Enfant 

Angelo  Acciaioli  dinal  Angelo  Acciaioli 


173 


Venedig,  S.  M.  Materdomini  Ton  Berlin,  Kaiser-Frledrich-Museum  Marmor 

Madonna  mit  dem  Kinde  Madonna  Orlandini 

The  Virgin  with  Child  La  Vierge  et  l’Enfant  The  Virgin  with  Child  La  Vierge  et  l'Enfant 


174 


Paris,  Comte  de  Camonda  Bronze  Berlin,  Kalser-Friedrich-Museum  Stucco 

Die  Kreuzigung  Christi  Madonna,  das  Kind  anbetend 

The  crucifixion  La  crucifixion  The  Virgin  adoring  L’Enfant  adore  par 

Christ  la  Vierge 


175 


*Faenza,  Pinacoteca  Marmor  *Faenza,  Pinacoteca  Holz  * St.  Petersburg,  Eremitage  Bronze 

St.  Johannes  der  Tauter  St.  Hieronymus  Putto 

St.  John  the  Baptist  Saint  Jean  Baptiste  St.  Hieronymus  Saint  Jerome 


176 


:;:Wien,  Hotmuseum  Bronze,  mlt  Silber  touchiert 

Die  Qrablegung  Christi 

The  sepulture  of  Christ  La  sepulture  de  Jesus-Christ 


*London,  Lord  Elcho 


St.  Cecilia 


Heilige  Cacilie 


Sainte  Cecile 


Donatello  12 


177 


Paris,  Louvre 

Portrait  of  a Roman 


Portrait  eines  Romers 


Portrait  d’un  Romain 


178 


179 


Florenz,  Museo  Nazionale  Pietra  serena  Berlin,  Kaiser-Friedrich-Museum 

Bildnis  eines  Unbekannten  Romischer  Imperator 

Portrait  of  an  unknown  man  Portrait  d’un  homme  inconnu  Roman  emperor  Empereur  romain 


*Florenz,  Museo  Nazionale  Bron 

Bildnisbiiste  der  Caterina  Sforza  (?) 

Bust  of  Caterina  Sforza  Buste  de  Caterina  Sforza 


* Paris,  Louvre 

St.  John  the  Baptist 


Der  Taufer  als  Knabe 


Saint  Jean  Baptiste 


181 


* Rom,  Lateran  Hclz 

St.  Johannes  der  Tauter 

St.  John  the  Baptist  Saint  Jean  Baptiste 


182 


183 


Florenz,  Museo  Nazlonale  Bronze  *Malland,  Museo  Castello  Sforzesco  Marmor 

Der  Kopf  Goliaths  Bildnis  einer  Cortigiana 

The  head  of  Goliath  La  fete  de  Goliath  Portrait  of  a courtezan  Portrait  d'une  courtisane 


Patera  Martel  1 i 

Mirror-box  Boite  d un  miroir 


Florenz,  S.  Lorenzo  Marmor 

Sarkophag  des  Niccolo  dei  Medici 

Sarcophagus  of  Niccolo  dei  Medici  Sarcophage  de  Niccolo  dei  Medici 


184 


*Florenz,  S.  Croce  (Cappella  Pazzi)  Marmor 

Fries  von  Engelskopfen 

Frieze  of  cherubs’  heads  Frise  de  fetes  d’ange 


185 


186 


*Ratshof  (LI ’land),  E.  von  Llphart 

Hieronymus  in  der  Wiiste 

St.  Hieronymus  in  the  desert  Saint  Jerome  dans  le  desert 


187 


Sangertribiine 

The  singers’  tribune  Urn  1460  Tribune  des  clianteurs 


18S 


Florenz,  S.  Lorenzo  (Alte  Sakristel)  Marmor  *Florenz,  Via  dl  Capaccio  Stein 

Brunnen  Wappen  der  Arte  della  Seta 

Fountain  Fontaine  Arms  Armoiries 


; Florenz,  Palazzo  Pitti 


Brunnen 


Fountain 


Fontaine 


189 


*Florenz,  Privatbesliz 


Fountain 


Brunnen 


Marmor 


Fontaine 


190 


* Padua,  Palazzo  della  Raglone 


Prozessions-Pferd  nach  dem  Gattamelata-Denkmal 


Processionary  horse 
after  the  Qattametata  monument 


Cheval  de  procession 
d'apres  Ie  monument  de  Oattamelata 


Holz 


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